The Makeup Artist Handbook

by Gretchen Davis

  Applying Tattoo Palette Colors or Tattoo Ink Colors

  Flesh-colored tattoo paints painted over the surface lightly can help dull the surface and give your tattoo a more aged quality. If you need to add color or image to a transfer, then any sort of tattoo palette paint or tattoo makeup inks will work. I try to do this additional work after the tattoo has been applied and before powdering or sealing. Ideally, you have done your research and were lucky enough to get approval from all parties (director, producer, and actor) in time, and the transfer you have made should include all the aging and color you require.

  Maintaining Tattoos On-Set

  In order to maintain tattoos on-set, be aware. Like any makeup you do—but even more like a prosthetic makeup—things can happen. An actor sleeps hard over lunch, an actor rubs his arms on a table while eating, the scene requires actors to wrestle or sweat or run, and so on. Always have backup tattoos with you, and alcohol in case you have to remove and apply a new one on-set. Do not remove with oils in the middle of the day because your next one won't stick. If it is a minor repair, have a premixed color or colors to match the image and to fill in the areas that have rubbed away. Sometimes just throw your hands up in the air, assess the shot, and say: “Hope we don't see that!” Things happen—just be resourceful and prepared.

  Removing Tattoos

  To remove tattoos, I mix isopropyl myristate and Super Solv 50/50, warm it up in the microwave so that it is comfortable on the skin, and use a powder puff. Continue to apply remover with the powder puff, gently rubbing the area, and periodically use a dampened hot hand towel to break up the rubbing cycle. Continue this until the area is clean. Finish off with a hot towel, and then apply lotion to the area to help moisturize before the next day of shooting.

  Terms

  Adhesives

  Cab-O-Sil Mixed with Pros-Aide: These two mixed together form a thick paste that is often used to blend appliance edges into the skin and to repair damaged appliances. There are other usages, too numerous to mention.

  Duo Adhesives: A latex-based product often used for eyelash application. Also used for fixing small areas on appliances, building small wounds directly onto the skin, blending edges, and applying jewelry or decorations to the face and body. This is one of those items you have in your kit that becomes an all-purpose product.

  Liquid Latex: Also in clear. Used for many different purposes. Liquid latex can be used to build appliances directly onto the skin, blend the edges of appliances, pour or paint or slush into molds. Is also used as a skin for some foams.

  Prosthetic Adhesives: Pros-Aide, for example, is a prosthetic adhesive that has many other uses. You can find Pros-Aide or No Tack Pros-Aide formulas. No Tack Pros-Aide dries without a tacky surface, so the product can be used to blend edges and prepare appliances for painting. It is also used as a Pax, and seals work already done. Pros-Aide Adhesive has a milky white texture and a strong hold, dries clear, is waterproof, and can be thinned with water or thickened but needs a correct remover.

  Resin-Based Adhesives: Spirit gum is one of the least expensive resin-based adhesives. It is easy to remove and has a medium hold. Spirit gum does take longer to dry than other adhesives. Spirit gum is good to use for short time frames or in fashion, applying objects to the skin (beads or crystals, for example). You can find spirit gum in different formulas—regular, matte, extra matte, or extra hold. Spirit gum in matte formulas is often used for lace pieces because the adhesive dries with no shine.

  Silicone Adhesive: In its raw form, silicone adhesive is composed of minerals. Silicone adhesive is also found under medical adhesives. It has a strong hold and is fast drying. Silicone adhesives in general work well on sensitive skin and are resistant to water. They are used often by Makeup Artists.

  Tapes: Can be thin, wide, double sided, textured, and transparent. There are many usages for tapes found in different materials. There are medical-grade adhesive tapes; tapes to apply hairpieces; to secure bald caps; and to hide or protect small cuts, wounds, and body art on the face and body—just to name a few.

  Water-Soluble Adhesive: Adhesive that is easily removed with soap and water.

  Thinners

  Thinners are made to dilute or thin adhesive products. Most adhesives have a matching thinner to go with their product. For example, Telesis 5 Thinner works with thinning Telesis Silicon Adhesives.

  Skin Primers

  Primers protect the skin from adhesives or products. They set and preserve the makeup.

  Removers

  Most often, to be safe, you should buy the remover that goes with the adhesive you are using. Many products are made to be used together in this way. Removers can be solvent based, alcohol based, hydrocarbon based, soap based, oil based, nonoily, made with flammable solvents or nonflammable solvents, and can be thinned with water. There are removers that have emollients to protect the skin from drying. They can be odor-free, hypoallergenic, and cream or gel form for easier use.

  Reference

  Haney, K., In Dick Smith's Advanced Professional Make-Up Course, Update #3, p. 4.

  Internet Resources

  Burman Industries, www.burmanfoam.com.

  Carlsson, L, Makeup-FX Companywww.makeup-fx.com.

  Cole, B, www.gelatin.co.za.

  The Compleat Sculptor, Inc, www.sculpt.com.

  Cybergraphic Design, www.getspfx.com.

  Diaz, K, www.kd151.com.

  Dow Chemical Company, www.dow.com.

  FXWarehouse Inc, www.fxwarehouse.com.

  Gelatine Manufacturers Institute of America, www.gelatin-gmia.com/index.htm.

  Mosko, G, www.gmfoam.com.

  Mulkey, M, www.michelemulkeyfx.com.

  Mungle, M; , WM Creations, Inc, www.matthewwmungle.com.

  Myers, K, www.ppi.cc.

  Naimie's Beauty, Center, www.naimies.com.

  Smooth-On, Inc, www.smooth-on.com.

  Tinsley, C, Tinsley Transfers, www.tinsleytransfers.com.

  12. How to Be a Pro

  Day checking in the film and television industry is described, including tips on how to read a call sheet, definitions of terminology (e.g., crew call, closed set, D/N, pages, holding and catering, SC(#), H/MU, reh, stat, total pages, atmosphere stand-ins, set call). Next, day checking for commercials is described. Makeup kits and set chairs for day checking in film and commercials are discussed, including lists of treatment bag contents, set bag contents, makeup bag for film day contents. Instructions on time cards and kit fees according to type of day checking job and client are provided, as well as standard job personnel and contact points. Crowd scene terminology and general instructions for several types of background artists or extras (homeless, drug addict, illness, police officers, news reporters and anchors, period makeup) are provided. Guidelines for beginning Makeup Artists to gain experience are given. The chapter concludes with lists of makeup brushes by type of bristle and brush, and industry standards for the following products: anti-shines, adhesives, brush cleaners, effects products, old-age stipple, prosthetic paint, foundation colors, silicon product in bulk, tattoo ink type products, tear products, foundation or correction makeup, water-activated makeup, makeup palettes, powders, removers, sealers, primers, and fixers.

  Key Words: day checking in film and television, call sheet, day checking for commercials, day checking makeup kits, kit fee, box rental, union shoots, East Coast trailers, West Coast trailers, crowd scenes, background artists, working out of kit, period makeup, test shooting, shoot preparation, makeup brushes, anti-shines, adhesives, brush cleaners, effects products, old-age stipple, prosthetic paint, foundation colors, silicon product in bulk, tattoo ink type products, tear products, foundation or correction makeup, water-activated makeup, makeup palettes, powders, removers, sealers, primers, fixers

  Day Checking: Film and Television Industry

  Sometimes Makeup Artists work on a day-to-day basis, known as day checking. Working as a daily hire takes a certain amount of responsibility and know-how. If you are talented
plus have the ability to think on your feet and are a good observer, you'll go far. Department heads look for someone they can trust on-set to do the job asked and not use the time at work for career advancement. Once you have worked with someone a number of times, you'll get an idea of how department heads run their makeup departments. No matter how chummy and laid back it might seem, try to remember that you are at work and this is a real job. Don't allow yourself to be careless with what you say and too chatty with the Makeup Artists in the main trailer. One of the biggest mistakes a Makeup Artist can make in any situation is failing to follow directions! Please leave your ego out of the equation when given directions on how and what products to use for the job you are on. There have already been many decisions made by the department heads in charge about the look of the shoot. Do as you're told! On top of being called to work without much information, walking into a job that might already be in progress with people who have already established a relationship with each other can be tough. There are ways to make sure that you are on the right track. The following will help you to understand the do's and don'ts of a day checker for daily hire, and how to watch the set.

  Day Checking: Daily Hire for Film

  When called in to work, ask the production department to fax or email you a call sheet for the day you are working (Figures 12.1 and 12.2). If you have been contacted by a department head or another Makeup Artist, be sure to get the information you need, such as a production phone number. Sometimes the makeup team already has a full plate, so you can help by contacting the production office yourself for call sheets and maps. Inform production that you will be working as an additional Makeup Artist and give them your contact information. Wait about an hour after production wraps the night before you are to work. If you have not heard from someone by then, call to remind production that you need a call time. Note that it is the assistant director's (AD) department with the help of the production department to give call times, but in some cases a member of the makeup department will make the calls.

  Figure 12.1 Call sheet front

  Figure 12.2 Call sheet back

  Many times department heads will contact you to ask if you have your call times. It is a plus to say yes because that makes one less thing for the Makeup Artist to worry about. They know you will be reliable and able to find your way to the makeup trailer, and on time. Sometimes you can sense a crazy, hectic situation, so be proactive and get the information you need yourself to get to work the next day. Expect a call from an AD. When you do get your call sheet, read it carefully. Take mental notes on what is being shot, how many background players there are, what the time period is, whether it is day or night, and inside or outside.

  Why is it important to know these things? If the weather is bad, bring the right things to wear. Are you outside all day? Be prepared to work under any weather situations and for long periods of time. Layered clothing is a must when working outdoors; bring items such as scarves, rain boots, coats, and sweaters. Maybe your set bag needs to be plastic or covered to protect it from the rain. Should you bring an umbrella? What if you are outside all day and it is hot? Sunscreen will be a must to apply on yourself and on the actors you are working on. Hats also protect you from the sun. Sunglasses help with the glare. Working indoors can mean cramped spaces, humid air, and possible excess sweat. Indoors, you might want to stay compact and bring a small portable fan for a little airflow. How many background players are coming in? Reading this information will tell you how busy it is going to get. The call sheet will also tell you what time period the movie is in for that day. Adjust your makeup kit to what you'll need. Don't bring in natural makeup colors if you are creating 1980s characters. Use common sense. These are just a few examples of why it is important to read the call sheet and to figure out how to prepare for the day.

  On the Job

  How to Read a Call Sheet

  Reading the call sheet gives you valuable information. If you are day checking, reading what scenes are being shot, how many background artists will be working, and what parts they will be playing is important information for preparing what you will need to bring to work. The call sheet will also tell you where to go and what time to be there, who to call in cases of an emergency, and the people who will be working with you. The following numbers correspond to the numbers on the call sheet and explain what they mean. A film call sheet is two-sided; a commercial call sheet typically is one-sided. This is a film call sheet.

  • Name of the production company, their location, and phone numbers. In case there is an emergency, you can contact the production office to find out what your call times are or where you are supposed to be.

  • Names of all the producers, ADs, writers, and the director. It is good to know who the ADs are. Besides the makeup department, you will be dealing with the AD department. They control the set, the schedule, and the environment on the set.

  • The first time listed is the crew call. Also called the general crew call, this is the time that most of the crew reports for work. The makeup department is not included; we have a separate call time, usually much earlier. Do not confuse the crew call with the makeup call; they are usually not the same. The second time listed is the shoot call. This is the time that production has scheduled to start filming. Makeup call times are on the back of the sheet for film, and on the front of the sheet for commercials.

  • Date for the day of work. Number of days the production has already been shooting. This is good to know because you can judge how fresh or tired the makeup department might be when you first start working. The more days they have been filming, the more tired they will be!

  Crew Call: The time that the crew is called in to work.

  Weather forecast for the day of shooting: Helps you decide what to wear to be comfortable and protected. This would also include any protection you might need for your makeup kits, or for your actors.

  Closed Set: A closed set means no visitors. Please remember this rule. You are there to work. It is not a time to show your friends the set. There will be names listed for you to contact to get permission to bring someone on-set.

  SC(#): Scene numbers in the script being shot that day.

  Set Description: What is being shot and what the shot looks like; whether the shot is indoors or outdoors.

  D/N: Indicates if the scene being shot is a day scene or night scene.

  Pages: The number of script pages for the scene being shot.

  Cast: The cast members appearing in the scene being shot.

  Locations: Where the scene(s) is/are being shot.

  Holding and Catering: Where the extras are being held, and where the food is located.

  Total Pages: Total number of pages being shot that day.

  Cast: Actors working that day.

  Character(s): Name(s) of the character(s) the actor(s) will be playing. Each character is assigned a number; this number is used to show the character on the call sheet and shooting schedule.

  Stat: Work status of the actor. Shows if they work that day or are on hold, traveling, or off.

  Reh: Time of rehearsals for the actor(s).

  H/MU: The time the actor(s) will go to hair and makeup.

  Set Call: Time the actors are expected on set.

  Remarks: What time the actors will be picked up from their hotel, or home, or if they drive themselves.

  Atmosphere Stand-ins: How many stand-ins and background actors are working that day, and the characters they play.

  Report: What time stand-ins and background actors report to hair, makeup, and wardrobe.

  Set Call: The time that stand-ins and background actors report to set.

  Remarks: Directions on where to report and at what time for stand-ins and background actors.

  Department Requirements: Notes on what each department needs to have for scenes being worked that day. Example: Makeup Dept. blood for scene 11.

  Advance Schedule: What scenes will shoot and where for the next few days.

  Pro
ducers, production supervisor, and first AD sign off on (approve) the call sheet. The set phone number and who to contact in case of an emergency.

  Flip side of the call sheet: All departments, the names of the crew members listed, and their call times.

  Day Checking: Daily Hire for Commercials

  Being called in as a daily hire for commercials is similar to film. There are a few changes that you would need to be aware of. Call sheets are not as extensive, and tend to have all information on the front, sometimes with a storyboard attached so you know how the commercial is being shot. You do not have to worry about bringing in copies of your IDs. Copies might be made for you by production, but even that might not happen. A day rate is also decided by you and the producers. What you charge is up to you, but never go below the asking rate. Remember that the less you charge, the more people perceive you as someone who is not in demand. When assisting another Makeup Artist, he or she will tell you what they have in the budget for you. Working with another pro is a good experience. Working by yourself means more responsibility, so remember to keep your rates where they should be. You'll be asking for a flat day rate, with overtime after 10 hours and a kit fee. If you are with a makeup agency, your representative will work out everything for you. After a rate is agreed upon, the agency or producers might ask for a résumé, reel, or CD of your work. This happens mainly if you have never worked with the agency or producers before, and they want to get an idea of what your makeup looks like in print, as well as who you have worked for in the past.